Review: Mystic Pizza
The national tour of Mystic Pizza the musical could have used more time in the oven. After premiering at the Ogunquit Playhouse in 2021 and subsequently receiving professional runs in 2025, the stage version of Mystic Pizza finally embarked on its first national tour. Having seen this musical in 2025 at both Riverside Theatre in Vero Beach and Paper Mill Playhouse in New Jersey, I was not a stranger to the material. I enjoyed both of those shows—the performers, the music, and the fun nature of the productions. I would easily give both runs 3.5/5 stars. Mystic Pizza tells the same story as the hit 1988 movie using a score made up of the greatest hits of the 1980s and ‘90s. However, after catching the latest iteration of the show at the Palace Theater in Waterbury, CT, I found myself enjoying it noticeably less.
To begin, the material was almost exactly the same across productions. The only noticeable difference was the elimination of “Please Forgive Me,” which Charles used to sing to Daisy to win her back. Without the song, her acceptance of his repentance did feel less earned, but it was not too different. Any other changes to Sandy Rustin’s script were too small to notice and therefore did not impact my enjoyment.
Everything else was different: direction, choreography, set and lighting, and cast. Now directed and choreographed by Jennifer Werner, who served as associate director on the 2025 production, the staging looks remarkably similar to the previous iterations. The staging and choreography lack energy throughout, but this is particularly noticeable during the scenes in the pub, where the music and staging did not match in energy. Most of the time, the music was far too quiet, which might be partially attributed to the Palace’s sound system, which, over the years, I have noticed leaves much to be desired. Still, the inconsistent energy levels throughout the show dampened the mood.
Perhaps the most glaring difference is the set. In both previous productions, the set was a “U” of beautiful buildings with weathered shingles and neon signs, evoking the feeling of a New England fishing town, with many different and elaborate pieces coming in to form specific locations. Now, the touring set, designed by Joshua Warner, is incredibly sparse in comparison. Gone are the nicely sculpted buildings, replaced by backdrops and metallic trusses. The backdrops and trusses work, but part of the nautical whimsy is lost. As someone who has been to the real-life town of Mystic, Connecticut, I can say with certainty that neither iteration of the scenic design particularly resembled the actual village of Mystic, but that’s an issue I can let go of. In addition, the location-specific set pieces are significantly scaled down, most notably the staircase in the house Tim Travers is renovating. This reduction takes away some of the show’s visual beauty, which was one of its real strengths in the previous productions.
The cast, all new to the show, is talented, though I found myself missing some of the spark that the previous casts brought to the material. Playing Daisy Arujo, Chloë Lezotte is charming and sweet, while also capturing Daisy’s “rough around the edges” quality, though perhaps at the wrong moments. She matures over the course of the show, from a rebellious girl to a grounded, ambitious young woman, and Lezotte portrays that development well. Her dynamic with Jack Baylis’s Charles Gordon Windsor Jr. is strong, though Baylis’s vocals often fell short of the demands of the score.
As Daisy’s sister, Kat, Kendall Becerra is simply charming. Becerra plays Kat’s innocence and wide-eyed expectations with genuine earnestness, and her voice is stunning, especially during “Lost in Your Eyes,” her Act I solo. Lezotte and Becerra also share a beautiful dynamic, best showcased during “True Colors.” Not only do their voices blend wonderfully, but their sisterly bond is evident. However, Becerra’s chemistry with Mike Leadbetter as architect Tim Travers is very sweet as well. From the start, it is obvious that any potential romance between them is doomed, but they each make you buy into it. Leadbetter’s performances in “Into the Mystic” and “When I See You Smile” are heartfelt, if lacking in vocal strength.
Lexxi Frilles plays Jojo Barboza, the commitment-phobic firecracker. Frilles plays this character with the perfect amount of spunk and joy, always injecting energy into the show. With an incredible voice, she was the standout member of the cast, consistently attracting my eye with her energy. Her beau, Bill, played by Matt Woodward, was fine, though I could barely hear a word he sang throughout the show.
Rounding out the central company, Tieisha Thomas plays Leona, the owner of the titular pizzeria. Thomas brings a soulful voice and motherly wisdom and love into each girl’s life, offering guidance as they each struggle with their love lives and navigate the world around them. Behind the leads is an enthusiastic company playing various family members and other townspeople of Mystic.
As mentioned, this is a jukebox musical, which means that, by nature, the show will encounter some continuity problems between the book and score. There aren’t any glaring issues, and for the most part, it’s fun to hear these songs. Not unlike Moulin Rouge! and &Juliet, Mystic Pizza utilizes a wide variety of music, including the likes of “Take My Breath Away,” “Girls Just Want to Have Fun,” and a celebratory finale of “Nothing’s Gonna Stop Us Now.” Most of these songs do little to move the story along or provide much emotional weight. However, it is Wilson Phillips’ “Hold On,” the Act I closer, that steals the show. It has the perfect blend of suspense and drama and fits the moment better than most other songs, as each character reflects on where they are and what they are looking for.
At the end of the day, did I still enjoy this musical after seeing it three times? Eh, not as much. I think removing some of the physical grandeur—which, let’s face it, was not that much to begin with—really exposed the weak points in the material a bit too much. The cast, too, just did not do enough for me to enjoy this to the same guilty extent I have in the past. Mystic Pizza has the same energy as a show like Mamma Mia!: you know the music going in and you leave without an emotional revelation, but having enjoyed yourself nonetheless. Unfortunately, this slice was just a little undercooked.
3/5 stars
2 hours and 30 minutes, one intermission
Palace Theater, Waterbury, CT
